An Actor Prepares |
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Page 56
... Suppose the surroundings , the teacher , the students , remain as they are . Now with my magic if I shall put myself on the plane of make - believe , by changing one circumstance only : the hour of the day . I shall say , it is not ...
... Suppose the surroundings , the teacher , the students , remain as they are . Now with my magic if I shall put myself on the plane of make - believe , by changing one circumstance only : the hour of the day . I shall say , it is not ...
Page 85
... suppose that you are looking at this non - existent fourth wall . It is very near . How should your eyes focus ? Almost at the same angle as if you were looking at the tip of your nose . That is the only way in which you can fix your ...
... suppose that you are looking at this non - existent fourth wall . It is very near . How should your eyes focus ? Almost at the same angle as if you were looking at the tip of your nose . That is the only way in which you can fix your ...
Page 252
... Suppose an actor is in perfect possession of his faculties on the stage . His mood is so complete that he can dissect its com- ponent parts without getting out of his role . They are all func- tioning properly , facilitating one ...
... Suppose an actor is in perfect possession of his faculties on the stage . His mood is so complete that he can dissect its com- ponent parts without getting out of his role . They are all func- tioning properly , facilitating one ...
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Common terms and phrases
actor adaptations adjustments Alan Schneider answer aroused artist asked the Director asked Tortsov attention audience began believe circle conscious create curtain Dasha direct elements emotion memory everything excitement exclaimed exercise exhibitionism experience expression external eyes feelings felt footlights fourth wall gestures give given circumstances Grisha hand happened human Iago imaginary imagination important inner creative inspiration Kostya light line of action living look Maria means mechanical acting method mind Molière moments mood muscles nature necessary object Othello Paul person physical actions play pose Prana purpose rehearsal remember role rubber stamps scene sensations sense of truth sitting soliloquy Sonya soul spectators spiritual stage stimulus subconscious suddenly suggested super-objective Suppose Tartuffe technique tell tenseness theatre theatrical things thought tion tried turn Vanya whole wish words yourselves